I guess that on paper at least there is only so much you can do with the one voice, one guitar delivery. It’s always going to be difficult to come up with something new to inject into the age-old format and unless you are going to head of into some warped, experimental territory, all you can do is rely on good songs, delivered well. It may sound obvious but so many back bedroom strummers totally fail to grasp this. Thankfully Nick Tann, not only understands the power of a well-crafted tune, he also has the ability to make this basic concept a reality.
The most obvious selling points of his music are a wonderfully expressive and technically wide vocal range and the ability to wring a playing style out of his twelve string guitar that sits somewhere beyond the merely rhythmic and fleshed out with delicate intricacies and atmospheric pauses that he works into the music. The devil, as they say, is in the detail and it is Nick’s understanding of this that raises his music above the competition.
Songs meander between the fragile and wistful in the case of Love Lies to the ballsy, Americana rant of That Woman and a number of peers come to mind through out the listening of the album. The shadow of Glen Tilbrook in post Squeeze mode hangs occasionally around the periphery and the more introspective moments remind me of Colin Vearncome, the artist formally known as Black (Listen to I Can’t Get Happy and just substitute a scouse accent!). I’m not implying any derivation or plagarism here, I’m just pointing out that Nick Tann not only continues a great singer-song writer tradition but also stands his ground along side some of the great and the good of the genre.
It’s not only a great album, it’s a worthy concept, find out more here
- Apocalypse Dreams : The Big Red Spark by Tinyfish The Concept Album. Reports of its demise have been greatly exaggerated. Okay, I suppose it never really went away but it is certainly a format that has for a long......